An excavations carried out on the built up side of the street Kremliovskaya, near from the Kremlin, have revealed an ancient constructions, dwellings that once stood above ground level, now all lying deep below the surface. They show signs of having been arranged in a certain order and probably lined the street leading to the Kremlin square. Today the Kremlin consists of a number of old buildings grouped round the Cathedral of Holy Virgin Mary Nativity.
The Nativity Cathedral is one of the earliest surviving examples of Vladimir-Suzdalian architecture. When Vladimir Monomach built the Suzdal fortress at the end of the eleventh century he also erected the large town Cathedral of the Assumption. As the stronghold of the Church in an area which had only recently become Christian it was carefully looked after by the authorities and was frequently decorated and repaired. In spite of this, however, it soon began to collapse. Prince Georgi, the son of Vsevolod III, ordered it to be dismantled and a new Cathedral of white stone was erected in its place (1222-1225).
Excavations by the south wall of the present building have revealed some extremely interesting remains of the original Cathedral. They show that it was built of thin bricks set in a lime cement mixed with small pieces of brick, which was a technique widely used in Kiev. The Cathedral was almost the same size as the present one. It was a large six-pillar building with a vestibule on its west side and three apses. A fragment of its frescoes has been preserved on the lower part of the wall. Judging by the brickwork the Cathedral was the work of Kiev builders brought here by Vladimir Monomach. They also organised the manufacture of the building materials here. The bricks were baked in specially built kilns along the banks of the Kamenka and the lime was prepared in large circular stoves inside the fortress itself not far from the building site. Traces of these installations have also been discovered during excavations. There are bases for thinking that the prince's palace laid to the west of the Cathedral.
This great Cathedral with its clear, bright interior glowing with beautiful frescoes undoubtedly made a very powerful impression.
There was no attempt to restore the original Cathedral, when it began to collapse at the end of the twelfth century. The walls still stood firm and had to be hacked away at their foundations when it was being dismantled. The chronicle stresses that in the years 1222 to 1225 Prince Georgi erected a new Cathedral "more fair than the first". Unfortunately this Cathedral also has not survived intact. In 1445 the roof collapsed. In 1528 the walls were dismantled down to the decorative arcade band and in 1530 the upper section was rebuilt in brick and topped with the usual five-domed roof. At the end of the seventeenth century the old choir-gallery was destroyed and the narrow, slit windows were widened. In 1750 the Cathedral was given huge, onion-shaped domes and the roof, which had formerly followed the shape of the zakomaras, was replaced by a simple four-slope one. In the eighteenth and nineteenth centuries adjoining structures have been attached to the north and west walls. In 1870 the outer walls were plastered with cement mortal, and also are painted red colour. The later adjoining structures were removed in 1954 and the Cathedral was carefully restored by Alexey Varganov and Igor Stoletov in 1964.
We can reconstruct a picture of the thirteenth-century Cathedral from the remaining lower tier and information from other sources. This building was the same type as the Cathedral of the Assumption in Vladimir in its primary kind (1158-1160). It is a large town Cathedral, elongated lengthwise due to the sharply protruding apses which make it look like an eight-pillar building inside. The main entrances are adjoined by vestibules on all three sides giving the Cathedral a cruciform appearance. The outer walls are divided by pilaster strips and surrounded by a decorative arcade band. In many ways, however, the Cathedral differs greatly from the specimens of twelfth-century architecture. It is built for the most part of rough slabs of porous tufa forming an uneven surface which was originally covered with nothing but a lime coating. Only a few of the smaller details were made of hewn white stone: the socle, the pilaster strips on the outer walls, the semi-columns on the apses, the decorative arcade band and the carved portals. Probably, this was the result of the desire to economise by using a cheaper material. Nevertheless, the clearly etched stone carving shows up very strikingly against the rough background of the walls. The architects have, as it were, combined the taste for a refined decorative finish characteristic of Vladimir architecture with the simple somewhat coarse wall texture reminiscent of Churches in Novgorod and Pskov. The division of the outer walls was simplified: elaborate pilasters and semi-columns being replaced by narrow, flat pilaster strips. The latter no longer corresponded exactly to the interior pillars with the result that this basic element for dividing the outer walls no longer reflected the building's structure. Whereas twelfth-century architects regarded the pilaster strip as an essential structural element for strengthening the walls at the points of tension in the vaulting, we now see them as narrow thin strips stuck on to the wall with the sole purpose of dividing it into sections. The pilaster strips themselves are intersected by a band of ornamental carving and reliefs of lions and griffins inserted on their corners, which were even further removed from their original structural function. In this connection, the south portal is particularly interesting. The clear link between twelfth-century portals and their structural elements is almost totally lacking here. The shape of the archivolt does not correspond to the face of the portal, its outside semi-columns are crowned with carved slabs instead of the usual capital, and the inside column stands somewhat apart from the masonry (stone laying), and is broken up by decorative heading.
All this shows a new attitude on the part of the architects, namely, a desire to reinforce the purely decorative element and eliminate its link with the structure of the building. The same approach can be seen in the treatment of the decorative arcade band, which no longer bears any relation to the position of the choir-gallery and therefore, like the pilaster strips, gives no indication of the building's internal structure on the outer walls. It is used simply as a piece of adornments which can be moved up or down at will. The band is deeply recessed producing a vivid interplay of light and shade, but its proportions have changed considerably. Instead of light, slender, tapering columns we see relatively short cylindrical ones that look like carved wooden balusters. The consoles have been turned into a kind of cube-shaped support and all that remains of the elaborate bases is a single round block decorated at the corners with horned griffins. The capitals and the round block beneath them have also become very large. All the elements in the band are densely covered with carving; even the row of decorative brickwork is notched with a herring-bone pattern which blurs the sharp contours of the stone and makes it look more like a row of small round wooden balusters. The carving itself is mainly flat and ornamental, reminiscent of wood carving like that we ñan see in the Cathedral of Saint Demetrios. An excellent illustration of this can be found in the lions on the south portal of the Nativity Cathedral, which are carved almost graphically, each line extremely expressive, and also in the wide curve of the archivolt decorated with garlands of twining plants emerging from the tail of a bird. The architects' love of ornament which led them to change the character of certain architectural features justifies the assumption that the upper part of the building was richly decorated with carving just as lavish as that on the Cathedral of Saint Demetrios.
There are grounds for thinking that above the decorative arcade band the pilaster strips were more complicated in form and decorated with carving. It is highly likely that the system of covering the wall with a flat carpet of ornament, on which high relief carved stones and compositions stand out very clearly in the Cathedral of Saint George at Yuryev-Polskoy , first originated here. There was probably a decorative arcade band along the top of the apses divided by narrow semi-columns.
The outer walls of the vestibules and the Cathedral were probably crowned with pointed zakomaras. Above the latter rose three domes: a large one over the point where the transept crosses the nave, and two smaller ones. There are two theories about where the smaller domes stood. They may have been placed on the eastern corners of the Cathedral to provide more light for the enlarged sanctuary; this arrangement can be found in Suzdal's sixteenth-century three-domed Monastery Cathedrals which imitated the main town Cathedral. But a number of twelfth-century buildings suggest that the two domes may have stood on the western corners in order to provide more light for the large choir-gallery. Certain twelfth-century buildings in Polotsk, Pskov and Chernigov, together with the fact that the Cathedral's roof collapsed in 1445, suggest that the latter had an unusual design and that the central dome rose above the vaulting on an elevated tower-shaped base, similar to that in the Cathedral of the Princess Convent at Vladimir. It is also likely that the western section of the Cathedral with its two domes was slightly lower, giving the building a tiered appearance. If these suppositions are correct the Suzdal Cathedral reflects the tendency in Russian architecture of the twelfth and thirteenth centuries to adapt the traditional design of a dome inscribed in a cross in favour of a more dynamic composition. It was evidently a most original and sumptuous building.
One of the important features of the Cathedral is the harmonious combination with surrounding landscape. It stood on the site of the older building erected by Vladimir Monomach quite near to the northern ramparts of the fortress, with its south and east walls facing the town square.
The architects paid special attention to the main south wall and its vestibule. The ornamentation here is richer and finer than on the other walls, and the carved portal was transformed, as it were, into a huge icon frame of white stone inside which the panels of the copper gates shone with embossed gold. The patterned carving of the surround linked the portal with the corner pilaster strips of the vestibule. The side walls of the vestibule were decorated with a striking cornice consisting of two strips of protruding cut stone which produced a rich interplay of light and shade. The ogee-shaped zakomara of the vestibule was decorated with carved figures (the central figure, possibly the Archangel Michael, has been lost and all that remains are the haloes of the figures at the sides) and a wide ornamental band of plants and birds. It was through this lavishly decorated south entrance that the townspeople of Suzdal entered the Cathedral. In the east section of the Cathedral's south wall there was a very elaborate window decorated with a surround of semi-columns with carved bases and capitals. But now, unfortunately, this window is spoiled.
The west wall facing the prince's courtyard was the second most important one. The front of the west vestibule had a broad, impressive carved portal with the soft curves of the archivolt faced with fine stone. It is interesting that here too the various elements are remarkably delicate in spite of the large dimensions of the portal: the semi-columns and ledges are thin and elongated, and the curve of the archivolt is flattened making it look incapable of bearing the weight of the masonry above it. The portal seems to have had no doors, so the vestibule was an open one. Beyond it in the wall of the Cathedral itself there was a second portal, possibly painted, also with "golden gates ". The vestibule originally had an upper storey, which was destroyed at the end of the seventeenth century. Inside its north wall there was a staircase leading to the upper part of the building and the choir-gallery. The arched entrance, now blocked up, can still be seen in the Cathedral wall under the ceiling of the vestibule.
The north wall facing the ramparts was much plainer. This is particularly evident in the portal made of thin brick, where the moulding consists merely of a number of rectangular strips without bases or capitals. The only bright touch was its frescoes (the present frescoes date back mainly to the seventeenth century). The decorative arcade band on the north wall was the work of less experienced craftsmen and its subject matter was less varied. Thus, as we have shown, the different walls of the Cathedral were decorated in relation to their surroundings.
Unfortunately now visitors do not start up inside of the Cathedral because of its emergency condition...
The interior of the Cathedral belongs to two different periods. On the north side of the southwest pillar, about ten feet from the ground, there is a structured cornice reminding us that the old choir-gallery once rested on these pillars. The gallery was unusually large and its vaulting covered the west ends of the two side aisles dividing them, as it were, into two storeys. The upper storey had plenty of light from the windows in the corner domes and walls. Probably Suzdal's Cathedral was the first one that really belonged to the town, and the boyars, rich merchants and master craftsmen also possessed the right to stand in the choir-gallery, after passing through the sumptuous portals of the west vestibule and up the staircase in its wall.
The area below the choir-gallery was in semi-darkness, the only sources of light being two small windows in the west wall and the arches of the choir-gallery which opened out into the nave. Beneath the gallery there was a burial vault. Niches were built into the base of the walls of the Cathedral and its vestibules for the tombs of the royal family and bishops. This probably explains why the east end of the Cathedral was extended increasing its area. Some of the niches still have traces of painting dating back to 1233. The southern niche of the west wall is particularly striking with a gorgeous crimson flower surrounded by twisting fronds, and yellowish stems with dark-blue and pink flowers framing the arch. However the Cathedral's builders and their successors had little opportunity to avail themselves of the burial niches. Thirteen years after the Cathedral was completed Suzdal was captured by the Mongols and the burial vault was used mainly for the feudal nobility of later times. The descendants of the Suzdal-Nizhny Novgorod princes were buried here in the fifteenth, sixteenth and seventeenth centuries.
The altar was divided from the main body of the Church by an special barrier. This was probably made of white stone and it is possible that the cube-shaped stones with female masks under an ogee arch which were inserted into the outer walls above the decorative arcade band, bear some relation to it. Investigations have shown that these stones were actually capitals with three faces, the two side ones now being hidden by the brickwork. Similar capitals may have crowned the side posts of the altar gates which led to the sanctuary and the side apses. Some old miniatures show pictures of pillars like these with triple-headed capitals and the carved posts of wooden doors.
In 1233 the floor of the Cathedral was covered with coloured majolica tiles, large areas being paved with square tiles of yellow, green and dark brown. The section under the main dome and probably by the altar as well was covered with small tiles forming intricate, mosaic-like patterns. The chronicler describes these floors with their shining, glazed surface as "wondrous variegated marble".
In the same year the Cathedral was decorated with frescoes which were the work of either Suzdal or Rostov masters summoned by Bishop Kirill. Fragments of them were uncovered by Alexey Varganov in 1938. The best are to be found on the upper part of the south apse. Here we see the restrained figures of two elders with stern, ascetic faces framed by patterned arches on decorated columns. The gentle precision of the brushwork combined with a certain refinement and restraint show these frescoes to be the work of skilled artists. The variegated foliate and geometrical ornament seems to cover the surface of the wall like a gaily coloured piece of cloth or tapestry. It is evident in the Cathedral's ornamental sculpture and precious plate, as well as in the frescoes. It is very interesting to compare these frescos with what were kept since 1189 in the Assumption Cathedral of Vladimir's city. These are figures of Saint Artemius and Saint Avraamios in a southwest part of a Cathedral.
A striking example of it can be found in the magnificent "golden gates" which until recently adorned the Cathedral's south and west portals, real masterpieces of thirteenth-century Russian applied art. Now they are in an exposition of a museum. The huge doors are divided into rectangular panels by raised rolls. The rich adornments and many small scenes on the panels are executed in a complicated technique of fusing gold on to a dark, velvety background of bronze, against which the gold designs shine out beautifully. The door handles were shaped in the form of lion heads with massive rings in their jaws. The gates were like a huge gold icon gleaming in the carved frame of the portal.
The west gates were adorned with scenes from the Gospels, pride of place being given to the Virgin Mary who was regarded as the patron of the Vladimir lands. Here we find one of the earliest portrayals of the festival of the Intercession which was instituted by the Vladimir Church authorities. The lower panels are covered with the figures of lions and griffins surrounded by intricate foliate patterns, which are very similar to the stone animal carvings of the Vladimir-Suzdalian school.
The figures of saints in medallions include Saint Mitrophanes, the patron saint of Mitrophanes, bishop of Suzdal from 1227-1238, who commissioned the west gates and was later among those burnt to death by the Mongols in the Cathedral of the Assumption in Vladimir.
The main south gates are particularly interesting, containing pictures of saints after whom the Vladimir princes were named. It is likely that these gates were made during the years 1230 to 1233 by order of Vsevolod III's son, Prince Georgi. The main scenes show the acts of the angels, in particular the Archangel Michael, the powerful warrior saint who protected the princes in their military ventures. There are many exquisitely composed scenes on fascinating subjects, such as Jacob wrestling with the angel, and Daniel in the lions' den, where the lions are very similar to those found in stone carvings. The picture of Adam being instructed by the Archangel Michael shows Adam digging with a wooden spade bound with strips of metal similar to twelfth-century spades found during excavations.
Another interesting composition depicting the miracle of Christ turning the water into wine at Cana shows people standing on the top of cliffs with the same type of spade.
The panels on both gates showing Gospel scenes, the Virgin Mary and the angels, the Creation and figures from the Old Testament, are all provided with clear, brief inscriptions and unfold before one's eyes like the pages of an exquisitely illustrated manuscript. These inscriptions provide valuable material for the study of the old Russian language and orthography.
According to a Cathedral inventory dated 1609 the same damascene technique was used on the bishop's ambo, a pulpit which stood slightly elevated in front of the Holy Doors in the altar screen. Its sides were decorated with feasts of Our Lord and the Virgin Mary. This splendid object evidently disappeared when Suzdal was sacked by the Polish invaders.
The "golden gates" are a magnificent example of Vladimir-Suzdalian craftsmanship combining severe, laconic composition with a love of rich ornament. As we have already pointed out, this passion for ornament is a feature of popular art and reflects the artistic tastes of the ordinary people of the Vladimir lands who produced these gifted masters.
The Cathedral was also richly endowed with precious plate brought by merchants from distant lands.
Thus we have a picture of the Cathedral in its original form.
After the alterations carried out in 1528-1530 the Cathedral appears to have remained without wall paintings and in 1577 it was damaged by fire. It received new frescoes in 1635-1636 which were "restored", i.e., repainted, on several occasions - in 1775, 1818 and 1850. The paintings on the west wall were entirely destroyed and most of the others were heavily painted over and have not yet been restored making it difficult to study their original style and subject matter. They seem to have been better preserved on the upper parts of the Cathedral.
It is well worth taking a look at what remains of the seventeenth-century frescoes. The vaulted ceiling of the north vestibule is devoted to the exaltation of the Virgin Mary to whom the Cathedral is dedicated. The paintings on the left half of the north wall show the half-length figures of apostles in ornamental medallions with a decorative band beneath them. The same theme of the exaltation of the Virgin Mary is developed in the painting on the south vestibule where the original frescoes are to be found on the lower section of the west wall. These show beautiful flying angels with trumpets and the figures of two people climbing trees.
On the southwest pillar under the dome there is a fragment of the 1635-1636 frescoes which the nineteenth-century "restorers" simply renovated here and there without making any alterations. There are a few more fragments of the seventeenth-century murals in other parts of the main body of the Cathedral, such as a group of the righteous from the Last Judgment on the north side of the southwest pillar and the splendid half-length figures of saints in large medallions on the right side of the central apse. One of the most beautiful of these is the picture of Archdeacon Stefan dressed in white robes with greenish folds in a glowing medallion of yellow ochre. These fragments indicate that the Cathedral was originally decorated with large compositions executed in austere colours reflecting the great traditions of early fresco painting.
The interior of the Cathedral was altered at the end of the seventeenth century to the modern form. On the instructions of Metropolitan Illarion the old choir-gallery was removed and the tombstones which had stood under the gallery on the graves of princes and bishops, about forty in all, were also taken away. The entrance to the choir-gallery was blocked up and the first floor of the vestibule was demolished. At the same time the old windows were widened. Also was commissioned the present iconostasis. Its style is in keeping with old traditions however. The design is simple, with no traces of the sumptuous extravagance typical of the late seventeenth and eighteenth centuries when the most important element in the iconostasis was not the icons but their rich mounting.
The iconostasis in the Suzdal Cathedral is still imbued with the strict hieratical concept of subordination to the supreme power of God and his earthly rulers. It is simple, but impressive, and looks like aflat wall covered with sheets of gilded silver forming a shining background against which the severe figures of the saints stand with their heads bowed reverently towards the central point occupied by the icon of Christ. The icon-painters who included Grigory Zinovyev, one of the tsar's gifted artists, were still masters of the art of simple impressive lines undisturbed by the excessive use of small detail and a riot of colour. The best view of the iconostasis as a whole is from the west wall, where it immediately strikes the spectator with full force. Some of the painting was renewed at the end of the eighteenth century.
In the course of the sixteenth and seventeenth centuries when the Cathedral was undergoing large-scale rebuilding and alteration, a number of fine new buildings were erected near it forming the group which we see today. In 1635 a large Cathedral bell-tower with a tent-shaped roof and a small Church in its lower section was erected opposite the Cathedral's south wall by Archbishop Serapion. Unlike many other Suzdal buildings of a similar type, this powerful, severe octagonal structure with pilaster strips on its corners seems to rise naturally out of the ground. At the base of its tent-shaped spire there is a gently sloping projection frequently found in fortified towers. The tall imposing outline of this building fitted in well with the majestic dimensions of the Cathedral, enhancing the role of the Kremlin as a focal point in the mass of small buildings that had spread out around it. Towards the end of the seventeenth century the bell-tower was given a clock which not only struck every hour but also had a small bell that gave a silvery tinkle every minute.